‘REVIV'D BY THE PUBLISHER OF THE FORMER MASKS’: THE FIRM OF JOHN WALSH AND THE MONTHLY MASK 1717–27 AND 1737–8

References

• See The Monthly Mask of Vocal Music 1702–11: A Facsimile Edition, ed. Olive Baldwin and Thelma Wilson (Aldershot, 2007).
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• The newspaper was dated as 18–20 July. Here and in other references to tri-weekly newspapers, the second date only is given, since that was the date of publication.
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• See William C. Smith, A Bibliography of the Musical Works Published by John Walsh During the Years 1695–1720 (London, 1938; 2nd edn, 1968; henceforth Walsh i), 149.
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• John Hawkins, A General History of the Science and Practice of Music (London, 1776), v, 342.
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• See David Hunter, ‘George Frideric Handel as Victim: Composer-Publisher Relations and the Discourse of Musicology’, Encomium Musicae: Essays in Memory of Robert J. Snow, ed. David Crawford and George Grayson Wagstaff (Stuyvesant, NY, 2002), 663–92.
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• Walsh i plates 8 and 20, and David Hunter, Opera and Song Books Published in England 1703–1726 (London, 1997), where the Walsh title-page is plate 69.1 and the Wright copy is plate 100.1.
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• Post Man, 19 September 1717.
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• Full details of the locations of known copies in public collections are given in the Catalogue, as are the reasons for suggested dates where the title-page is missing or the title-page date is unclear.
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• Hunter, Opera and Song Books, plate 32.1.
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• This copy is now in the Spencer Collection at the Royal Academy of Music, London.
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• Hunter, Opera and Song Books, item 106.
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• See Richard Holmes, Dr Johnson & Mr Savage (London, 1993).
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• Daily Advertiser, 8 September 1746.
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• See Warwick Wroth, The London Pleasure Gardens of the Eighteenth Century (London, 1896, repr. 1979), 189–93.
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• The payments are quoted in G.A. Macfarren, A Sketch of the Life of Handel (London, 1859), 22.
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• We are grateful to David Hunter for sending us details of this title-page.
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• For the Quarterly Collection for January to March 1726, see William C. Smith, Handel A Descriptive Catalogue of the Early Editions (Oxford, 1970), 44, no. 7. For the other publications in this column, see Hunter, Opera and Song Books, items 127a, 135, 135b, 143, 147 and 167.
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• D.F. Foxon, The Stamp Act of 1712 (Sanders lecture, 1978, annotated typescript at Cambridge University Library), 98–101 and William C. Smith, ‘New Evidence Concerning John Walsh and the Duties on Paper, 1726’, Harvard Library Bulletin, 6 (1952), 252–5.
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• Calendar of Treasury Books and Papers, 1720–1728 (London, 1889), 427.
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• In The New Grove Dictionary of Music and Musicians (2nd edn, London, 2001) and The Oxford Dictionary of National Biography (Oxford, 2004).
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• The vestry records of St Mary-le-Strand are available on microfilm (box number 2472) at the City of Westminster Archives Centre.
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• Leveridge, who sang Homer, had written the libretto, Laguerre (the son of a famous painter and himself an artist as well as a singer) sang Apelles and Isabella Chambers, a pupil of Pepusch's wife, sang St Cecilia.
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• Evening Post, 14 July 1724.
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• Advertisements are not known for some of the parts. See William C. Smith and Charles Humphries, A Bibliography of the Musical Works Published by the Firm of John Walsh During the Years 1721–1766 (London, 1968; henceforth Walsh ii), items 1018–22. The first volume of The Merry Musician had been published by Walsh in 1716.
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• London Evening-Post, 4 May 1736.
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• Country Journal; or, The Craftsman, 24 July 1736; 4 September 1736; 15 January 1737; London Daily Post, 3 November 1736.
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• ‘Whilst Strephon gaz'd on Cloe's eyes’ X (2) < March 1722 (2), ‘Oh love how pleasing are thy chains?’ XI (6) < November 1720 (3) and ‘Fond Damon blest beyond compare’ XIV (6) < August 1718 (2). There are also two songs from plates used in Leveridge's A Collection of Songs [1728].
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• For the war of words between The Musical Entertainer, The Universal Musician in the Daily Advertiser, see Nancy Valpy, ‘Plagiarism in Prints’, Print Quarterly, 6 (1989), 54–9.
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• Advertised as ready for the subscribers in the Daily Advertiser, 7 March 1738.
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• The first issue was advertised as ‘The Masque, for Jan. price 6d. half’ in the Dublin Journal (17–21 January 1744). Numbers 67 and 68 were advertised in the Dublin Journal (3–6 March 1753), as ‘containing all the new Songs sung at the Theatre & elsewhere’. See Brian Boydell, A Dublin Musical Calendar (Dublin, 1988), 96, 179. Issues 1–33 and 74–92 at Ob Harding Mus. E 139 & 140 show through-numbering in sets of 12, but the periodical cannot have appeared regularly at monthly intervals. Nos 100–11 are at British Library I.415.z.
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• Walsh ii, items 907–12.
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• Hunter, Opera and Song Books, plate 32.1.
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• Silla seems to have received only a private performance in London, in June 1713. See Winton Dean and John Merrill Knapp, Handel's Operas 1704–1726 (Oxford, 1987), 269–70.
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• An example of each monthly title-page is reproduced in The Monthly Mask of Vocal Music, 1702–11, ed. Olive Baldwin and Thelma Wilson (Aldershot, 2007). For this August issue, the final digit of the year was not added (see Introduction, pp. 2–3). It is catalogued as August 1717 at Lbl, where it is bound between the July and September 1717 issues, and there seems no reason to dispute this dating.
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• John Sheeles, harpsichordist and composer, was a member of the Royal Society of Musicians from 1739. His Collection of Songs was issued by Walsh and John and Joseph Hare at some time between 1722 and 1725. The MM plates were re-used there, both for this song and for ‘O sacred spirit of harmony’ from December 1719.
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• In August 1717, Mrs Willis was repeatedly advertised as singing Carey's Sally at DL ‘like a Shoe-maker's Prentice’. The singer is likely to have been one of the daughters of the actress/singer Mrs Willis who died aged 70 in 1739.
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• See Simpson, 788–91.
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• As for the August 1717 issue, no final digit has been added to the date. The issue is catalogued as November 1717 at Lbl.
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• The plates for this song had been used for Songs in the Opera of Crœsus (1714). For MM, the heading was re-engraved and English words were added, but the original page numbers were retained.
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• A boy was frequently advertised as singing at LIF in the 1715–16 season, but not in the seasons 1716–18.
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• As the MM was not revived until July 1717, this cannot be January 1717, except in Old Style dating, which was not usually employed by Walsh. It is catalogued as January 1718 at Lbl, where it is bound before February 1718.
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• The Italian aria was originally one for Galatea in Aci, Galatea & Polifemo (Naples, 1708), HWV 72(14).
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• Purbeck Turner was baptised on 10 August 1693, the son of William Turner (see June 1718 (3)). He sang at DL from October 1715 and was buried at St Martin in the Fields on 12 August 1717.
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• The plate for May appears to have been lost or broken between 1709 and 1710 and was not re-engraved. Here the July monthly plate is used, despite the now inappropriate design and zodiac sign of Leo.
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• A very similar setting of these words is attributed to ‘Mr. Gouge’ in The British Musical Miscellany, ii, 55–6. Several songs by Gouge were published around this time; he may be the singer and composer who was active for a few years after 1698.
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• The engraved ‘July’ was deleted when the plate was used for May. See note 44.
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• The composer James Graves (1672–1731) was also an oboist, court musician and music teacher. See Andrew Ashbee and David Lasocki, A Biographical Dictionary of Court Musicians 1485–1714 (Aldershot, 1998), 510–12.
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• See James Merryweather, York Music (York, 1988), 33–4. The song sheet reproduced there is found at Lbl H.1601 (247) and is a very close copy of the MM sheet (or vice-versa).
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• Daniel Purcell was buried on 26 November 1717.
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• A different setting, by Charles Ximenes ‘Sung by Mr. Van Ghent brugge’, is at Ob. Harding Mus. G. 443 (5).
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• The contents and much of the title-page wording are copied from The Yearly Subscription or the Harmonious Entertainment…For the Year 1720 (Hunter, Opera and Song Books, item 106). See Introduction, p. 4. For the Walsh passepartout see Hunter, Opera and Song Books, plate 91.1.
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• Richard Jones (d. 1744) worked at Drury Lane, where he succeeded Carbonelli as leader of the orchestra. His other published compositions were instrumental. See Roger Fiske, English Theatre Music in the Eighteenth Century (Oxford, 1973).
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• In The Yearly Subscription the words of this song and 10 others are attributed to ‘Rich. Savage Gent: Son of the late Earl Rivers’. See Introduction, p. 5.
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• Ralph Roseingrave had taken over from his father as organist at St Patrick's Cathedral, Dublin, by December 1719.
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• Issue 16 of the Guardian is attributed to Ambrose Phillips. See J.C. Stephens ed., The Guardian (Lexington, KY, 1982).
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• These three songs, which are part of the Bodleian Library volume Mus. Sch. c. 97 and share old fold lines, appear to make up the complete February issue. The song which follows in the volume, ‘My hopes my pleasure/Tu mia speranza A SONG in Imitation of the Bagpipes in English and Italian, is almost certainly not from the February 1720 issue.
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• The words were earlier set by Daniel Purcell as one of his Six Cantatas [?1713].
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• The aria is from Partenope (Venice 1708). The complete cantata Vertumnus and Pomoma was set by Abiell Whichello.
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• George Holmes was organist of Lincoln Cathedral from 1705 until his death, aged 40, in 1720.
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• The king's return from Hanover was in response to the South Sea Bubble crisis.
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• Henry Burgess (d. 1765) composed songs and a set of harpsichord lessons and contributed one song to the 1737–8 MM run. He was a member of the royal band and was appointed governor of the Royal Society of Musicians at their first meeting in 1738. In his will he left all his printed and manuscript music to his son Henry, who was also a keyboard player and composer.
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• Present in the printed text of The Death of Dido (1716), but not in that of Myrtillo (not published until 1736).
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• The date on the title-page of this issue is 1711, which is clearly impossible, and 1721 seems the most likely date, rather than 1718 or 1719, the only other years without known April issues. The Cfm volume which contains this issue and that for February 1723, also without a title-page, consists almost solely of songs from the early 1720s. Lady Elizabeth Cecil (see note 64) was aged 14 in April 1721.
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• Elizabeth, daughter of the 6th Earl of Exeter (7th Lord Burleigh) and his wife Elizabeth was born at Burleigh House, Northamptonshire, seat of the Exeter branch of the Cecil family, on 4 December 1706.
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• Lbl H. 1601 (362) is a two-page version, lacking the instrumental sections.
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• This is one of two different issues at Lcm where the handwritten alteration gives January 1722. This issue cannot be for a year earlier than 1722, because The Magician was premiered at LIF in March 1721. The references to the South Sea Bubble in the first two songs here make the issue unlikely to be for a year later than 1722. Anthony Aston was advertised as performing at LIF between January and May 1722. See note 77 for the other issue dated as January 1722.
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• Prenesto was a character in the popular English/Italian opera Camilla. This song soon degenerates into nonsense words.
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• See Simpson, 334.
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• The Prince and Princess of Wales had visited Belsize Pleasure Gardens, Hampstead, in 1721. The entertainments there included hunting, horse racing, gambling, music and dancing.
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• This song was made to one of the tunes in the pantomime afterpiece The Magician; or, Harlequin a Director (LIF, 16 March 1721). The music is generally attributed to Galliard.
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• Page 2 is printed on the verso of page 1, a rare departure in this period from printing on one side of the paper only. The numbering was presumably to ensure that the second and not the third page was run off on the verso of page 1.
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• ‘Made to ye Slow Air in ye Magician or Harlequin Director' in Lbl H.1601.i. (5). See the January 1722 issue for two other songs referring to the South Sea Bubble and May 1722 for The Magician.
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• For this and the following issue, the handwritten final 2 of the date has the tail of the 2 crossed, so that the date can be misread as 1724. This form of the number 2 is found elsewhere in Walsh song sheets and collections.
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• An edition of this song at Lbl G.305 (157) gives the composer as ‘Mr. Charles Lulman of Norwich. Charles Lulman of Norwich subscribed to a number of music publications between 1730 and 1755, in 1755 describing himself as a music master.
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• For comments on this tune, see Simpson, 235–6. Matthew Birkhead was on stage as an actor, singer and dancer from 1707. He died on 30 December 1722.
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• In his preface to the 1723 edition of his play, Steele noted that the song was ‘omitted for the want of a Performer’. See Introduction, p. 6.
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• This is the second of the two January issues at Lcm for which the handwritten alteration gives the year 1722. (See note 66). It bears an ownership signature dated 24 June 1723 and in Ckc RW 110.24 these songs, in the same order but without a title-page, are bound immediately before the February 1723 issue. It therefore seems probable that this is the issue for January 1723.
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• This is not the same song as ‘Phillis be kind and hear my love’ which is attributed to Handel in The British Musical Miscellany, ii, 10–11.
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• This set of songs survives in Ckc RW 110.24 among other MM issues, all but one (February 1723) without title-pages. The sequence is: April 1723, this set of songs, January 1723, February 1723, August 1724 and July 1724. An advertisement exists for MM for March 1723 and if, as seems probable, this set of songs constituted a MM issue, it must be for March 1723, since Coriolano (see the first song) was premiered on 19 February 1723 and the MM plate for the song was used in Walsh's Favourite Songs in Coriolanus, published a week after the MM issue for March.
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• Walsh's advertisement for the March issue of MM in the Daily Post (3 April 1723) also announced that ‘The Favourite Songs in Coriolanus’ would be published ‘next Week’. This song is the only one there with English as well as Italian words, for the MM plate was re-used.
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• ‘Misera che fato Sung by Sigra. Cutzoni in Calfurnia’ (2ff, with page numbers 11 and 12) from The Favorite Songs in the Opera of Calfurnia, published by Benjamin Cooke (Hunter, Opera and Song Books, 152), is bound after the issue at Lbl K.7.e.4.
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• The whole issue, including much of the wording of the title-page, is copied from The Monthly Apollo for July 1724, published by Cluer and Creake (Hunter, Opera and Song Books, 146) on 10 August. This cost 1s. 6d., but Walsh priced his issue at 1s. See Introduction, p. 11.
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• The final song ‘Cloe you're witty’ is bound out of order at Ob Harding Mus. E. 120 (150).
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• This is printed from the plate of song 4 of MM for July 1724, where only the Italian words were given. The English version, from the July 1724 Monthly Apollo, has been added to the plate.
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• Reinhard Strohm, Essays on Handel and Italian Opera (Cambridge, 1985), 169.
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• These have become ‘The 1st. Additional Songs’ because another set of additional songs in Ottone had been published by Walsh as the Quarterly Collection of Vocal Musick…for the last Three Months January February & March being the Additional Songs in Otho [1726] (Lbl G.316.r and Ob Harding Mus. E. 141).
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• Sung by Catherine Clive at her benefit at DL on 12 March 1737 as ‘a new Ballad’. It was sung frequently by Ellis Roberts at CG from 26 March 1737. Senesino's last performance in London was in June 1736.
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• The song sheet Lbl G.306 (39) is taken from the MM plate, but has the engraved page number 10, which would be expected here but is not present. A setting of these words by Stanley was published in G. Mag. (1738), 318.
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• A song sheet found at Lbl G.316.d (119) and Ob Mus. 9.C.5 (128) attributes this setting to ‘Mr. Markwell'. Another song, Love Preferable to Liberty, is also attributed to Howard and to Markwell in different editions.
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• The words are attributed to C. Highmore in E.D. Schnapper ed., The British Union-Catalogue of Early Music Printed Before the Year 1801 (London, 1957). However, Robert Dodsley was the author of the afterpiece and the song is in the published text. Charles Stoppelaer performed the song in the character of Joe.
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• Catherine Clive spoke the epilogue to the tragedy, but was not in the cast. 1734 ed. Act 1, scene iii: ‘Louisa discover'd in a Chair, in a pensive Posture; soft Musick plays, then the following Song is sung’.
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• The Happy Nuptials, ‘a new Pastoral Epithalamium’, was premiered at Goodman's Fields on 12 November 1733 in honour of the forthcoming marriage of Princess Anne and the Prince of Orange. Richard Osborne (d. 22 December 1736, aged 18) was a pupil of Henry Carey, who wrote and set a touching elegy on him, The Muse's Tears, Lbl I.530 (181).
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• For the tune Lochaber, see Simpson, 662.
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• John Beard sang the Royal Chasseur in the pantomime afterpiece. The song was a long-lasting success. For John Hoadly's authorship of the words, see H. Diack Johnstone, ‘More on Dr. Hoadly's “Poems set to music by Dr. Greene”’, Studies in Bibliography, 50 (1997), 267–8.
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• John Hudson described himself as ‘of his Majesty's Band of Music’ in 1747 and subscribed to various musical works between 1728 and 1760. He was appointed a governor of the Royal Society of Musicians at their first meeting in 1738.
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• The two songs in this issue appear to be the only separately published songs by Jeffrey (Jeffery) Oakes.
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• Lampe also composed the instrumental music for Cupid and Psyche; or, Colombine Courtezan. Thomas Salway took over the role of ‘The Spaniard’, who sings this song, in October 1734. This is not the same as the setting attributed to Handel in Amaryllis, ii, 55.
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• The Universal Harmony plate bears signs of having been engraved for The English Orpheus (1743).
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• ‘Aia’ is as in the heading. The pantomime afterpiece Perseus and Andromeda was premiered at LIF on 2 January 1730.
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• This setting is attributed to Howard on later song sheets, including Ob Mus. 9.C.7 (181).
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• The words are also found in Vincent Bourne, Miscellaneous Poems (1772), 106, but, according to the Oxford Dictionary of National Biography, they were contributed by William Oldys to The Scarborough Miscellany (1732), where they are anonymous.
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• This is the 43rd page of the run, but the number is unexpected, as it is the first engraved page number since 31.
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• A different, anonymous setting of these words, entitled The Pleasures of Solitude is at Lbl G.316.e. (17) and Ob Mus. 9. c. 6 (4).
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• There are two other settings of these words, by Sylvanus Tayor in Catch that Catch can (1667) and by Roger Hill in Select Ayres and Dialogues (1669).
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• The song is headed as by ‘an eminent Hand’ (p. 657), but is attributed to Stanley in the index to the volume. A different setting, by Mr Potter, is in M. Misc., vi, 106.
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• Lady Mary Wortley Montagu claimed to have written The Answer ‘extempore’ after reading ‘Dear Collin’, written by Frances Seymour, Countess of Hartford. See Robert Halsband, The Complete Letters of Lady Wortley Montagu, iii (Oxford, 1967), 187.
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• Edward Betts was singing man and teacher of the boys at Manchester Parish Church (now the cathedral) from 1706 and organist there from 1714 until his death in 1767.
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• Mrs Roberts, probably the wife of the actor John Roberts, sang this song as Cephalus.
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• A different setting is ascribed to Carey in Amaryllis, i, 29, but to Holcombe in Lbl G.316.h (36).
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• This song, from the same plate, had appeared in MM for March 1722.
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• John Webber, organist of Boston, Lincolnshire, subscribed to Croft's Musica Sacra (1724) and Handel's Atalanta (1736); John Francis Webber ‘of the Parish of St James Westminster’ appears in the records of the Royal Society of Musicians from 1739 to 1755.
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• See Ian Bartlett, ‘Thomas Philips, Lord Chesterfield and the Enigma of a Popular 18th-Century Ballad by William Boyce: A New Conspiracy Theory’, Musical Times, 149 (2008), 26–38. (The tune was later attributed to Howard in The Muses Delight (1754).)
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• Ascribed to ‘C (Robert Crawford) in A. Ramsay, Tea-table Miscellany (London, 1733).
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• George Monroe, organist, harpsichordist and song composer, was a page at Cannons and studied under Handel and Pepusch. He was organist of St Peter Cornhill from 1724 to 1731.
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• A song sheet at Gm is headed The New Hunting SONG set and sung by Mr. Leveridge'. The song was not in the first edition of the pantomime afterpiece Apollo and Daphne (1726), but was present by the fourth edition (1726). The song was very popular, appearing in at least 11 song collections by the time of Leveridge's death in 1758. The MM plate had been used in Leveridge's A Collection of Songs (1728), but the page number 37 is not from that publication.
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• This song, from the same plate, had appeared in MM for November 1720.
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• The first two verses come from Fielding's Grub Street Opera. The song, with five additional verses by Leveridge, was first sung by him at his benefit at CG on 15 April 1735 and was immediately popular. This appears to be the first edition with the additional verses by a lady of quality.
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• Air 14 of The Livery Rake, sung to the tune i had a pretty girl', is not assigned to a specific character in the play text. Ellis Roberts sang Air 16 in the character of James.
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• A different setting, by Dieupart, is in M. Misc., iv, 52.
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• See David M. Vieth, Attribution in Restoration Poetry (New Haven and London, 1963).
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• British Melody (part xvi, pub. 12 July 1738) attributes both words and music to Philips, but the words are in Carey's Poems on Several Occasions (London, 1729) as well as being attributed to him on the Gm song sheet. This is the only song attributed to Philips in RISM. The composer may be William Philips, who joined the Royal Society of Musicians in 1739.
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• Two other songs by John Mason survive, at Lbl, Ob. He may well be the John Mason who was a gentleman of the Chapel Royal between 1708 and 1752.
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• This song, XIV(1) and XVI(1) are the three songs in Stanley's Three Cantatas and Three Songs [1751], but were re-engraved for that collection.
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• Houghton Library, Harvard (f EC7 G2523 726mb). There is a setting of the words by Maurice Greene in M. Misc., ii, 58. It was Greene's tune that was used in Henry Fielding's The Virgin Unmask'd (1735).
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• This song, from the same plate, had appeared in MM for August 1718.
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• Princess Augusta, daughter of Frederick, Prince of Wales and his wife Augusta, had been born on 31 July 1737. RISM lists five other songs by Snibson.
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• Hurlothrumbo, by Samuel Johnson of Cheshire, was premiered on 29 March 1729. This song is not in the play text, but ‘several Additions Vocal and Instrumental’ were advertised on 12 May 1729, when Mrs Nokes was listed in the cast for the first time.
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• Phanuel Bacon (1700–83). A broadside at Houghton Library, Harvard (no. 257 in collection of broadsides formed by Thomas Percy) has the annotation ‘Revd. Dr. Bacon'. M. Misc., vi, 136 gives ‘By a Gentleman of Magdalen-College, Oxford.’ (Bacon's college was Magdalen.) See Simpson, 172–6.
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• This plate had been used in Leveridge's A Collection of Songs (1728). The tune was employed in at least a dozen ballad operas.
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• Charles Davenant's opera Circe was revived, with music by Galliard, at LI F in April 1719 ('not Acted these Twenty Years') and was not performed after that season. George Pack was advertised as one of the singers. This song is not in Davenant's text. The engraved 3 is a puzzle, although of course it is the third page of the number.
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• The poem dates from the period of Cuzzoni's greatest success in London, where she sang at the opera from January 1723 to summer 1728. She appeared again in London from 1734 to 1736.
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